Availability: Only 1 available
Yellow Cedar wood
64 x 10 x 10″ (including base)
Only 1 available
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- Additional Information
- Artist Bio
Yellow Cedar wood
64 x 10 x 10″ (including base)
|Dimensions||64 x 3.75 x 6.75"|
|Artist||James Johnny Jr.|
|Nation||Coast Salish / Kwakwaka'wakw Nations|
Coast Salish / Kwakwaka’wakw Nations
James Johnny Jr. was born July 5th, 1973 in Victoria, British Columbia, Canada situated along the southern coast of Vancouver Island. He is a member of the Kwakwaka’wakw Nation, on his mother’s side and Coast Salish Nation, on his father’s side. He takes the Killerwhale, revered as a powerful hunter of the ocean, as his family crest symbol.
James began drawing and carving at the young age of thirteen (1998) as a result of watching his father, Jim Johnny, carve on a regular basis. Carving came naturally to James since he picked up the skills quickly and achieved accurate, dimensional and balanced pieces that contained a great deal of movement. He prefers to use red and yellow cedar wood as his medium and understands the make – up of cedar in order to bring out the best qualities in his pieces.
Presently, James resides in Victoria and relies on carving for his livelihood. James’ work can be found in many private collections within North America as well as in a small number of galleries. His attention to detail is evident in each piece that he creates and he continues to improve with each carving.
James is one of the many new generation of carvers whose talent and skills will enable him to achieve a prominent level within a short period of time.
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Yellow Cedar wood, Acrylic paint
“People of the Eagle” Frontlet, masterfully carved and painted by Kwakwaka’wakw artist Barry Scow, represents the Chief and his people of the Eagle clan. True to form of Barry’s fine carving, this frontlet portrays the Eagle with Sun, and commemorates Barry’s link to his Grandfather, who was a Chief, and to his heritage.
A Frontlet is a forehead mask attached to a woven headpiece, worn only by Chiefs and high-ranking individuals in order to display status. This particular frontlet carries the Eagle and Sun motif. The Eagle position belonged to the highest-ranking Chief in the village.
The Eagle lives in the sky, or Upper World, and represents status, power, peace and friendship. Eagle is the Chief of the birds, an honor he shares with the Woodpecker. The Sun is a popular Kwakwaka’wakw motif, used quite regularly in their art. The sun can represent life and creative forces as well as warmth and healing.
To further establish his high position, the Chief practiced a traditional act of discarding his wealth in front of other Chiefs. Much of this wealth was in the form of copper. To break the copper or throw it into the ocean, symbolized that he and his clan were modest of their wealth and that the value of friendship weighed more than the value of material wealth.
To assist the Chief with this historical display of modesty, a subordinate was appointed. The assistant is portrayed below the beak of the Eagle, carved in intricate detail, as one can see in the teeth and tongue of the human face. Another beautiful component of this piece are the Chief’s people, delicately cradled in the beak of the Eagle.
Price upon request
Bone, Abalone shell, Cedar bark, Woven Leather cord
Commonly used by a Shaman, soul catchers were used to cleanse human souls and spirits. If a person was sick, or perhaps possessed by a demon spirit, the soul catcher was used to coerce the evil spirit out of the body. The open ends were caped with cedar bark to hold the soul until it was cleansed and brought back from the spirit world. The healed soul of the recipient was then returned to the body by the Shaman by blowing through the soul catcher and into to the patient’s mouth.
The shape of the soul catcher is typically cut from animal bone in such a way that the ends are flared outward and the surface is carved with figures associated with the Shaman’s spirit guides. Spirit guides accompany the human spirit or soul on its transformative journey between worlds. The ends of the Soul Catcher were sealed to contain these spirits. They also protect the boundaries between the physical and spiritual world, keeping those involved in the healing ceremony safe from evil minded spirits and beings. The symmetrical arrangement of the figures essentially defines objects of this type and the figures tend to more sculptural in appearance.
Soul catchers are extremely powerful and respected healing instruments; because of this, they were often housed in special bentwood boxes to keep them safe.
Soul Catcher: 1.5 x 9.25 x 1.5″
Including Stand: 2.75 x 9.25 x 3″
Other works by this artist
Loon’s cry is particularly relevant to First Nations individuals, for voices and songs are thought to be carriers of magic. As a result, some shamans consider Loon to be one of the most prominent animal spirit helpers – their voices acting as a bridge between the animal and spirit world.